Discover the most popular and inspiring quotes and sayings on the topic of Articulating. Share them with your friends on social media platforms like Facebook, Twitter, or your personal blogs, and let the world be inspired by their powerful messages. Here are the Top 100 Articulating Quotes And Sayings by 98 Authors including Gareth Gates,Shoshannah Stern,Oliver Sacks,Kate Betts,Emile Chartier for you to enjoy and share.
Speech and having a stammer is obviously a big part of my life.
Most of the time, I get auditions for deaf characters where the scene has them communicating in really convoluted ways, like reading lips from across the room when the other person's back is turned or having other people parrot what they say.
Sign language is the equal of speech, lending itself equally to the rigorous and the poetic, to philosophical analysis or to making love.
To express oneself fluently involves more than simply speaking the language properly. It includes inflection, voice, posture, gestures, and clothing. All of these elements add up to an individual's personal expression. They are the elements of style.
When we speak, in gestures or signs, we fashion a real object in the world; the gesture is seen, the words and the song are heard. The arts are simply a kind of writing, which, in one way or another, fixes words or gestures, and gives body to the invisible.
When I write, I am trying through the movement of my fingers to reach my head. I'm trying to build a word ladder up to my brain.
With hand gestures, you can fill in a lot of gaps, and the words thing and stuff and -ness also help: patientness instead of patience, fastness instead of speed, honestness instead of honesty. With these choices, many words can be indicated, and pointing or gesticulating usually works.
I find it really difficult to even articulate things that I've done in the past. I express myself through the characters that I play, not through the articulation of them later.
I am a singer and dancer, and I've been perfecting it for a lot of years.
You learn to control every aspect of your muscles, your face, your toes, your fingernails. And that is how you tell a story, through movement.
I had a stammer through adolescence. Any fun I'd had performing in school plays disappeared and only came back at 18, when the stammer started to go. Then I thought: 'Well, perhaps I can show off now.'
The finest art of communication is not learning how to express your thoughts. It is learning how to draw out the thoughts of another.
I'm quite a physical person and I gesticulate a lot, which can be a problem when you're in Hollywood and they do everything in a minimalist way ...
You really can't explain how you do the things you do. I can't, anyway. I love certain actors, but sometimes they say the stupidest things about technique. I don't want to say something stupid.
Slurring is the cursive of speech...
With real estate, it's location, location, location. In public speaking, it's acoustics, acoustics, acoustics.
In fact, you will play your instrument better if you listen to your body's responses to how you are doing what you are doing.
What comes easiest for me is dialogue. Sometimes when my characters are speaking to me, I have to slow them down so that I'm not simply taking dictation.
I'll drive down the street, and I'll practice improv. I will sit there at a red light and see two guys talking to each other, and I will just start playing both characters. I can't hear them, but I can see their mouths moving, so I'll just put words in their mouths.
I find that once you find the sound and voice of this character you're playing, everything else follows. It comes right out of the fingertips eventually - the physicality, the gestures, the walk - for me.
Discipling involves instruction and imitation.
I like vocal word stuff. But I don't always write with an instrument, I usually write a capella. It's more like drawing in the air with your fingers. It's closest to the choreography of a bee. You're freer.
Sometimes, when people speak, I cease listening to their words and zoom in instead on the cadence, and it can seem lovely, and at other times absurd, all this verbiage, these seemingly random consonants clattering on the string that is sound.
It takes a lot of practices to get it right. The key is to keep practicing.
I like to use my hands. When I was in theatre in college, that was one of my biggest notes: 'You use your hands too much.'
Speaking is what most people work on. They forget the thinking and the breathing and instead try to occupy space with sound.
All the children in the school should learn the steps of everything, before they learn the thing, then they know which step they're doing better, because your voice is in certain steps and has to do most of the things that have been composed in those steps.
It is better to practice a little than talk a lot.
Talent for oratory can simulate the need for action and even thought.
I speak onstage to try to establish some method of communication. The songs are supposed to be a way of communicating. But speech and drinks and sometimes chocolates are also a way of communicating.
I use a lot of double-tonguing [using the tongue to control airflow]; that allows me to play as fast as if I was slurring, but with clean articulation on every note.
Language is a more recent technology. Your body language, your eyes, your energy will come through to your audience before you even start speaking.
Breathing is fundamental to speech. A stammer is caused by erratic airflow, so if you have a smooth airflow, you have smooth speech.
Hands have their own language.
In animation, there's silly things I get to do with my voice. I get to have a wider range, so my voice gets to dance more than it does on camera.
Quite often in acting, you have to play a certain part; you cannot speak as much as you want to speak.
The movements which I make I cannot possibly repress because, at the time, I am actually the idea I am interpreting, and naturally I picture my players and auditors as in accord with me. I know, of course, that my mannerisms have been widely discussed.
stuttering over your words.
Tis in our power
(unless we fear that apes can tutor's) to
Be masters of our manners. What need I
Affect another's gait, which is not catching
Where there is faith, or to be found upon
Another's way of speech, when by mine own
I may be reasonably conceived
The process of putting intangible thoughts into an imperfect system of notation - which is difficult enough, depending on your ideas - acquaints you with how best to express your ideas so that it is as clear as possible to the performer.
Some imitation is involuntary and unconscious.
It takes lot of practice to get it right.
Each moment calls for a different stylistic essence and a different sense of impact, and mastery of this balance is an art form - a very learnable art form.
It's quite simple," she says, while Rosentreter wonders, not without anxiety, whether she can read his thoughts. "You draw air into your lungs, you raise your soft palate, air passes over your vocal cords, and you move your lips and tongue. Or, to put it another way, you speak.
There is something deeply satisfying in shaping something with your hands. Proper artificing is like a song made solid. It is an act of creation.
My speech is imperfect. Not because I want to shine with words, but out of the impossibility of finding those words, I speak in images. With nothing else can I express the words from the depths.
For people to understand me when I travel, I speak with my hands.
Until writing was invented, man lived in acoustic space: boundless, directionless, horizonless, in the dark of the mind, in the world of emotion, by primordial intuition, by terror.
Speech is a social chart of this bog.
I am learning to pretend, to smile and nod, to display
I'm looking for what might be called a body language. One thing I do is stick a vibrator up my cunt and start writing
writing from the point of orgasm and losing control of the language and seeing what that's like.
As you know, there are certain languages that lend themselves very easily to vocal use.
I'm not expressing anything. I'm presenting people moving.
Where the bodily presence is weak and the speech contemptible, surely there cannot be error in making written language the medium of better utterance than faltering lips can achieve?
Eloquence: saying the proper thing and stopping.
Talking like touching. Writing like punching somebody.
We do a lot of talking with our mouths, but we don't necessarily realize the signals we give out physically with our body posture when we're talking to people.
I don't speak, I operate a machine called language. It creaks and groans, but is mine own.
Imitation is human intelligence in its most dynamic aspect.
It's something that I learned even before I started acting: the movement, the dance of the body, is very important, and it comes before words.
I think that literature quite often emerges from areas where there has been a lack of articulation, like women's writing.
If you have a great idea, you should be able to communicate it as well. It's like the sound of one hand clapping. You have a great idea but aren't able to express it - well, how great was the idea?
Communication does not depend on syntax, or eloquence, or rhetoric, or articulation but on the emotional context in which the message is being heard. People can only hear you when they are moving toward you, and they are not likely to when your words are pursuing them.
Acting is the only medium were people think they can just stand up and do it because they can say lines, but that is not so much the case. You have to study styles and techniques.
Sign Language: Young Kids Know More Than They Can Say When you think about it, it's not so easy
Speech is a powerful master and achieves the most divine feats with the smallest and least evident body. It can stop fear, relieve pain, create joy, and increase pity
I don't need to speak ... I play the guitar!
Even if you can't dance, you can shake your body. Even if you can't sing, you can make some noise.
One of the reasons I wanted to teach deaf children was because it made me very sad that they spoke so clumsily and that they moved with less grace that I knew was possible of deaf people.
Through theater and acting school, I found a way to articulate myself.
But the mechanics of learning to 'throw your voice' are pretty simple. Anyone with a tongue, an upper palate, teeth, and a normal speaking voice can learn ventriloquism.
Let soul speak with the silent articulation of a face.
One mustn't let technique be the consciously important thing. It should be at the service of expressing the form.
I'm good with dialect. Some actors do it immediately; other actors never quite get it. It's something I've always really enjoyed and something I've always been pretty fast with.
If I just simply let go, and allow my hand, my arm, to be more of a support system, suddenly - I have more dynamic with less effort. Much more, and I just feel, at last, one with the stick, and one with the drum.
I kind of do this awkward body language because, growing up, I had a really hard time expressing myself vocally.
The world belongs to the articulate.
It's hard for me to perform in English.
Don't manipulate, articulate!
I make art when I can't gather the words to say.
When I am in the sound booth, I am trying to convey as much as I can through just my voice.
From my earliest days I have enjoyed an attractive impediment in my speech. I have never permitted the use of the word stammer. I can't say it myself.
Sometimes you have to say the words exactly how they are on the page, but sometimes when you improv, it only helps to get across what's on the page, and I just love working with directors who allow that.
Everything that I do I hear and then I go with my hands, and since I use my hands for both piano and guitar that is kind of hands-on.
No-one can say just how long a message should be, but you rarely hear complaints about a speech being too short. The amateur worries about what he is going to put into his speech. The expert worries about what he should take out. An artisitic performance is concentrated, has a central focus.
With our bodies we make statements before we speak, our presentation is a language spoken without words. You - and only you - get to decide what it is you're trying to say.
keep your hand moving
The neurological feedback and resulting control of the muscles involved in speech is extremely complex. The mind is involved in a far greater task than simply remembering vocabulary and organizing words into meaningful sentences.
I speak languages with more ease than I read or write them, she explains. It is something in the feel of the sounds. I could attempt to put them on paper but I am sure the result would be appalling.
Communication is an art form that is crafted throughout our lives.
People joke about me that I talk in voiceovers. I have that sort of inflection. But I do talk in voiceovers. I have done it my whole life.
I've been told to speed up my delivery when I perform. But if I lose the stammer, I'm just another slightly amusing accountant.
movement is not only practised but an entirely new repertoire of movement is acquired. The experience of movement, therefore, becomes a pedagogical process.
The lifelong goal of an improviser is to listen to what the other person is saying, taking it in, and responding.
I know people who prepare their roles in such a way that they technically look ahead and memorize their gestures, and then they stick to it. Those that are technically proficient enough can make it seem natural, but they do that and don't really take in what other people are doing.
Writing is just work-there's no secret. If you dictate or use a pen or type or write with your toes-it's still just work.
The easy bit is picking up a camera and pointing and shooting. But then you have to decide what it is you're trying to say and express.
The hand has the richest articulation of space.
I have difficulty putting words in peoples' mouths. The best dialogue is very, very thin dialogue; you let people improvise and then basically you record what they've improvised and then write it down.
Ordinary people who know nothing of phonetics or elocution have difficulties in understanding slow speech composed of perfect sounds, while they have no difficulty in comprehending an imperfect gabble if only the accent and rhythm are natural.
I'm good with accents and stuff; it's mostly that I have a really good Spanish accent, so it sounds like I speak a lot better than I do.